Three winters

Tena Štivičić


Directed by Ivica Buljan

Set designer: Aleksandar Denić, Costume designer: Ana Savić Gecan, Composer: Mitja Vrhovnik Smrekar, Lighting designer: Sonda 4, Video: Toni Soprano, Dramaturge: Mirna Rustemović, 

Guest performance from HNK, Zagreb, Croatia

In the winter of 1945, a mother, a daughter with her husband and new-born baby girl settle in the villa of an emigrant of the Independent State of Croatia, thanks to the privilege of Communist Party membership. The house at first appears empty, but conceals a left-over tenant and an old acquaintance of the mother. In the winter of 1990, the Kos family gathers in the house for a wake. It is the eve of the Homeland War and the new state is still in its infancy. Old divisions and controversies surface again, while the new generation raises new issues. In the winter of 2011, wedding preparations are under way and the Kos family is together once again. At the dawn of entry into the European Union, some family chapters are being closed and the long silences interrupted, while the new tycoons led only by the ideology of capital are determining the destiny of the household in which years and memories are still being constructed…

Tena Štivičić has courageously presented some crucial moments from her personal and Croatia’s history. The play premiered in London to great success, and won the prestigious Susan Smith Blackburn Prize in New York. Its production at the Croatian National Theatre in Zagreb, directed by Ivica Buljan, has been received with universal enthusiasm, becoming a genuine hit.


Maša Kos – Ksenija Marinković
Vladimir (Vlado) Kos – Dragan Despot
Alisa Kos – Jadranka Đokić
Lucija Kos – Luca Anić
Dunja Kralj – Barbara Vicković
Marko Horvat – Mislav Čavajda


Maša Kos – Ksenija Marinković
Dunja Kralj – Barbara Vicković
Vladimir Kos – Dragan Despot
Švabo (Karlo Dolinar)  – Bojan Navojec
Karolina Amruš  –  Nina Violić
Igor Marević – Franjo Kuhar
Aleksandar Kralj  – Siniša Popović


Ruža Kralj Mada Peršić
Aleksandar Kralj – Silvio Vovk
Monika Vinter – Alma Prica
Karolina Amruš – Nina Violić
Marinko  – Slavko Juraga


Članovi baleta: Rieka SUZUKI, Simon YOSHIDA


Premiere: 30 April 2016



Johann Wolfgang von Goethe


Directed by Tomaž Pandur

Guest performance from SNG Drama Ljubljana, Slovenia • Subtitles in Serbian

In this adaptation of Faust, a grand coproduction between the Slovenian National Theatre Drama Ljubljana and the 63rd Ljubljana Festival, which unfortunately for the Slovenian, European and Global theatre audiences became the last performance of Tomaž Pandur’s staggering theatrical opus, the renowned and internationally most successful Slovene theatre director tackled, for the third time in his rich career, one of the greatest European myths: Goethe’s Faust. Although the story of Faust is based on the medieval legend of a man, who sold his soul to the devil, it actually represents the alienation of modern man and his need for understanding himself and the world in a broader context of the universe. Pandur has alchemically transformed the legend of Faust into an intellectual and emotional atmosphere of our own time and constructed his own poetry and truth along the way. Amidst the eternal battle against an all-encompassing evil Faust points us toward infinite yearning for everything unreachable or unattainable: family, love, youth, beauty. Entering the field of magic, the landscapes of cosmic spheres, Faust is able to attain experience and completion, love and power, but the contract in blood with Mephistopheles – or himself – forces him back into solitude and the transience of life.

Tomaž Pandur understood Faust as a theatrical equation and the levels of Faust’s life and his confrontation with Mephistopheles as a poem on the phenomenology of the human species. A dream of the hieroglyph of absolute truth – which could make even infinity itself attainable. In September 2015 at the première of Faust in Ljubljana, Tomaž Pandur stated the following: “Goethe’s masterpiece Faust, the dramatic poem of the man, who signed a contract with the devil is also referred to as a ‘divine tragedy’, for it deals with the microcosm and macrocosm, with the public and private, with knowledge and discovery, with the unstoppable need and constant longing of the individual toward something bigger and better, while failing to consider the price of his passions. Throughout the centuries the story of Faust developed into an archetypal myth of human ambitions and dilemmas, which tries to entangle and understand the individual engaged in his constant battle between good and evil. In our adaptation and production of Faust, evil is plural; the devil is not alone, he comes with his entire family and assistants in order to more easily tempt and enact its famous dance of death. We follow a man set between heaven and earth, trying to find the truth and meaning of his existence. And this is precisely the purpose of theatre – to speak and ask questions about the most crucial affairs of human existence. Goethe ventured to state that the battle between good and evil propels humanity and gives it an unshakeable faith in its future”.

Premiere: 21 September 2015, Križanke – 63rd Ljubljana Festival / 30 October 2015, Main Stage of SNG Drama, Ljubljana


OCD Love


Directed by Sharon Eyal, Gai Behar

Music, sound artist: Ori Lichtik, Lighting design: Thierry Dreyfus, Costume: Odelia Arnold in collaboration with Sharon Eyal, Gai Behar, Rebecca Hytting, Gon Biran, 

The obsessive-compulsive disorder (OCD), repeatedly poses challenges for love and for life. A powerful piece, danced to pulsating techno beats created by DJ Ori Lichtik, talks about love that always misses, or lovers who keep missing each other. Out of synchronization! Like one person comes to bed and the other gets up. Like something that is full and intact, but has many holes in it. This work is about the holes.
I see everything in the piece very dark, and in shadows, you and your shadow dancing. A lot of inspiration for the work comes from the text “OCD” by Neil Hilborn. This text is strong for me because I feel it reflects me so much. I couldn’t stop reading it. For me it was already choreography, or a mold you can put your inspiration in, yourself in. It is the first time that the core of the piece is shaped in my head, and so figurative, before we have even begun working. I know the way it feels and smells. Like the end of the world, without mercy. A smell of flowers, but very dark. Like falling into a hole and not coming back. A lot of noise, but desperation for quiet. It’s not coming from a place that I want to make something sad, but something that I need to take out of myself, like a dark stone I have in my chest.

Sharon Eyal


Premiere: 2015, Colours International Dance Festival, Stuttgart




Concert of No Border Orchestra and Dresdner Sinfoniker, Germany on the 5 November 2016.



Kaća Čelan


Directed by Gorčin Stojanović

Kaća Čelan HEIMATBUCH directed by Gorčin Stojanović

Guest performance by National Theatre Sombor on the 2nd November 2016.


The Deceased

Branislav Nušić


Directed by Igor Vuk Torbica

  • RinaAndrijana Oliverić/Maša Dakić
  • Spasoje BlagojevićDejan Dedić
  • MileLazar Đukić
  • AntaStefan Bundalo
  • Ljubomir ProtićŽeljko Maksimović
  • Milan NovakovićBanranislav Zeremski
  • Pavle MarićMarko Janketić
  • Mladen ĐakovićIvan Mihailović
  • AljošaAleksandar Marković
  • Mr. ĐurićBane Jevtić
  • Musicians:Marko Marić
  • -Aleksandar Savić
  • -Nikola Ulemek

Dramaturgs: Tamara Bijelić, Maša Seničić, Production Managers: Pavle Jakičić, Kristijan Šujević, Set Designer: Veljko Stojanović, Costume Designer: Ivana Čemerikić, Composer:Marko Marić, Photographer: Jelena Veljković, Sound Designers: Mlađan Matavulj, Srđan Milovanović,

Faculty of Dramatic Arts production


“The action of The Deceased has been set in the late ‘70s – a period during which the Communist Party, led by Marshal Tito, was on the march, trying to eradicate all liberals and technocrats, after which it was free to replace them with a new generation of trusted party comrades. This production of The Deceased points a finger at this phenomenon, established in Yugoslav times by the Socialist system (and which we’re still grappling with in Serbia), where nepotism is rife and where family or party members receive special treatement or in other words: where everything is possible – provided you know the right people.”

This production was sponsored by the City of Belgrade Secretariat of Culture.


Premiere: Faculty of Dramatic Arts production – 15 May 2012 (FDU), 28 September 2012 (Bojan Stupica Theatre)

Duration: 1hr 20mins, no interval

Last performance:


The Cherry Orchard

Ljuba Tadić Theatre

Anton Pavlovich Chekhov


Directed by Dejan Mijač

Translation: Zorаn Božović, Set Designer: Darko Nedeljković, Costume Designer: Leo Kulaš,Music Advisor: Vladimir Pejković, Speech: Ljiljаnа Mrkić Popović, Lightning Design:Svetislav Calić,

The Cherry Orchard was the last play by the greatest Russian playwright, written while he was at the top of his powers. It not only stands at the crossroads between two centuries – and two different eras – it is also about the painful changes that such times bring. The play also stands at the very end of an era in the history of drama, the 19th century domestic drama, as the pinnacle of this period – and at the beginning of the new era, like a root from which will spring the shoots of modern 20th century drama.

The Cherry Orchard is also the farewell production of a famous Serbian theatre director Dejan Mijač who chose this to be the last play he will direct. The production focuses on the most important qualities of this magnificent piece: an insight into human nature, great ability to discuss the relations between people using the simplest means, powerful scenes written with cool precision and great compassion, tinged with sadness and humour, and all in a pregnant atmosphere of expecting a tragedy that will inevitably come.

“The Cherry Orchard is a fantastic play but Mijač has imbued it with new ideas; his direction, acting and the décor all fit beautifully with the minimalist set (…), and the fact that there are so few stage effects brings to the fore the psychological analysis of the characters and excellent acting from the cast.” (CITY MAGAZINE)

“Great actors and a great production.” (POBJEDA, Montenegro)

“Mijаč’s direction is all about subtle poetic approach with great attention to detail, effective minimalism which is such fertile ground (…) for exciting performances from actors.” (POLITIKA)

The Cherry Orchard premiered on Sveti Stefan on 17th July, 2011 and is a co-production between the Yugoslav Drama Theatre and Theatre City Budva Festival.


Madame Lyubov Andreievna Ranevskaya Jasna Đuričić
Gayev Svetozar Cvetković
Dunyasha Hana Selimović
Yepikhodov Nikola Vujović
Yasha Nebojša Milovanović
Varya Jelena Đokić
Anya Jelena Petrović
Charlotta Nada Šargin
Lopakhin Boris Isaković
Trofimov Bojan Dimitrijević
Pishchik Branko Cvejić
Firs Vlasta Velisavljević
A Stranger Andrej Nosov


Premiere: 4 October 2011

Duration: 2hrs 10mins, no interval

Last performance: 7 June 2015



Ljuba Tadić Theatre

Milena Marković


Directed by Slobodan Unkovski

Set & Costume Designer: Angelina Atlagić, Dramaturg: Marina Milivojević Mađarev, Music Selection Associate: Nebojša Ignjatović, Choreography: Maja Milanović, Lightning Designer: Svetislav Calić,

One of the key works of modern Serbian drama and a theatrical heritage of a lost generation, the one that came to maturity during 1990′s. In this play exciting scenes of courage and passion follow in quick succession, like in a big theatrical kaleidoscope. These scenes are a testimony that – in a vicious circle of violence – the evil that people do is not a product of a tortured childhood but that it has its roots in the deep, primeval forces that shape man and determine his actions and his relationship with others.

“Tracks by Milena Marković has been turned into a production that will probably become a cult production for the young generations and which should make the slightly older members of the audience to take stock of their own lives and what it is that they had forgotten to do in order to make the world around us a better place.“ (NIN)

“The latest production by the Yugoslav Drama Theatre – Tracks – seems set to become an important play of its generation as well as its symbol.” (BLIC)

Tracks was performed at the 8th Yugoslav Theatre Festival in Užice (where it won the special Ardalion award, 12th Dani Zorana Radmilovića festival in Zaječar (where actor Boris Milivojević won the Zoranov Brk award), Biennale of New European Drama in Wiesbaden, Germany, Festival of Modern Drama in Budapest, Days of Serbian Culture in Toronto, Tuzla theatre festival, City Theatre Budva festival as well as a part of a Belgrade – Sarajevo / Sarajevo – Belgrade project. In addition, Tracks has toured in Lazarevac, Tivat, Podgorica, Ruma, Smederevo, Sombor, Pančevo, Bratislava, Čačak, Valjevo, Zagreb, Novi Sad.


Moron Boris Milivojević
Hero Sergej Trifunović
Ugly Nebojša Glogovac
Buttonhole Jelena Đokić
Angler, Local, Greasy Marinko Madžgalj
Angler, Local, Greasy Nebojša Milovanović
Joker Nikola Đuričko

Premiere: 25 November 2002

Duration: 1hr 30mins, no interval

Last performance: 29 May 2016

Страница 1 од 212